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"Life is a lot like jazz... it's best when you improvise."
George Gershwin (26th September 1898 — 11th July 1937)
CAMP: "A cornucopia of frivolity, incongruity, theatricality, and humour." "A deadly, winking, sniggering, snuggling, chromium-plated, scent-impregnated, luminous, quivering, giggling, fruit-flavored, mincing, ice-covered heap of mother love." "The lie that tells the truth." "Ostentatious, exaggerated, affected, theatrical; effeminate or homosexual; pertaining to or characteristic of homosexuals."
Annie Lennox is celebrated as one of the finest musical voices of our time and one of the most successful female British artists in UK music history. An innovator, icon and performer, her success has spanned four decades and she is internationally renowned both for her music and her personal style.
The House of Annie Lennox is an immersive and intimate display which explores the image and creative vision of the artist. There will be a small selection of costumes and accessories worn by Lennox, together with photographs, personal treasures and awards, ephemera from the political campaigns she has championed, music videos and a specially commissioned video of Annie in conversation.
Lennox was born in Scotland on Christmas Day, 1954. In 1971, at the age of 17, she left home after gaining a place at the Royal Academy of Music in London. Today, she has achieved over 80 million record sales worldwide through her work with The Tourists (1977–80), with Dave Stewart as Eurythmics (1980–90), and subsequently as a solo artist. She is now as well known for her political campaigns as for her music. Winner of numerous musical awards, in 2011 she was awarded an OBE by the Queen for her services to charity.
This display pays tribute to Lennox's passion for life and creativity. Through her artistic output in many fields, she has influenced and transformed the position of a generation of female performers.
One of America's first modernist painters, Charles Demuth was also one of the earliest artists in the US to expose his gay identity through forthright, positive depictions of homosexual desire. Demuth, the son of a successful merchant, had the financial freedom to pursue his artistic vision without debilitating regard for public opinion - concerning either aesthetics or sexuality - while his talent ensured that even the most provocative works were of unassailable quality.
Demuth is best known for his many Precisionist paintings of the 1920s, works inspired by Cézanne's landscapes, Constructivist compositions and - closer to home - Hartley's abstractions, but his more significant historical contribution may be the audacious manner in which he responded to the homophobia that greeted his work Distinguished Air (1930).
Loosely interpreting Robert McAlmon's story of the same title, a story set in a Berlin "queer café," Demuth portrayed a situation at an exhibition opening, in which a male couple admires Constantin Brancusi's notoriously priapic sculpture, Princess X, while an ostensibly straight male gallery-goer admires the crotch of one of the gay men.
When several exhibitions refused to include Distinguished Air, Demuth responded by creating overtly homoerotic watercolors of sailors disrobing, fondling themselves, and even urinating in each other's company.
It was not easy for the critics to describe Charles' unique act, but when they did, he would happily appropriate the description. Apparently it was Herb Caen (in whose San Francisco Chronicle gossip column Charles appeared 50 times) who dubbed Charles a "male actress." Another description Pierce enjoyed was The Master and Mistress of Surprise or Disguise. When he played the Fairmont Venetian Room in the 1980s, the ads showed Charles as Bette Davis, holding a smouldering cigarette, with the caption, The Last Drag.
Charles' first stand-up comedy routines were naïvely costumed. In a radio interview in 1983, Charles said, "Through the years the act has had a lot of phases. I originally started in a tuxedo with a box of props. Then I started working clubs in Florida that required a lot of changes in material, so then I started working more or less in drag, and I say 'more or less' because Florida [laws] were very strict: You could wear black pants, you could wear a black turtle neck sweater, but you could not wear a dress. You could put feather boas on, and hats and gloves and pocketbooks, but you couldn't be in drag. And so we did a lot of pantomimes, and then I would do my 'live' material (maybe 10 minutes) at the end of that show. Eventually we ended up here in San Francisco (When I say 'we,' I refer to my partner at that time, Rio Dante), and we 'holed up' at the Gilded Cage for six years. We did a lot of pantomimes, and Mae West's [rock and roll] Treat Him Right was one of them."